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It's Fun to Play the Piano ... Please Pass It On!

Good morning everyone! There have been some fantastic postings on this thread! I'm still trying to catch up. Richard, we must have posted about the same time.

Piano Joy, when is dinner? I like my filet mignon cooked medium. LOL I gave you a little trumpet music to start dinner with. You can't go wrong with this second course for music. Here is Yo-Yo Ma performing the second movement of the Cello Concerto No.2 in D by Franz J. Haydn.

Enjoy! I'll be back shortly with my other Sunday Classical music postings.

OMG, I saw Hawkwind in the mid-70s at Friars Aylesbury! I think I was 15.

Edit: It must have been the Space Ritual tour.

Rossy, you should check out the fan site for Friars. Lots of old stuff there about Mott and Ian Hunter etc. It was the most excellent venue(s). (They moved in the 70s, but it was great both places, the management remained the same.)

I've decided to go ahead with my original plan and share another selection by Michael Haydn. Here is the Divertimento in G Major performed by the Slovak Chamber Orchestra under the direction of Bohdan Warchal.

There have been a few good covers of various Hendrix. (I have a whole collection, good and bad!) This is definitely a good one. Kronos are great.

Factoid: Hendrix, in London, lived for a time (1968-70) in the house that was Handel's home for many years, on Brook Street. The Georgian building went into decline in the latter part of the 20th C, and was recovered by a benefactor who brought it back to life.

Eglantine and Piano Joy, all of this talk about food is making me hungry again. How's a guy supposed to do his classical postings when he can only think of mouth watering filet mignon, Welsh lamb, perhaps with some asparagus or artichoke hearts ... Argggh!!! I must cook now. I've posted enough classical music to hold you until it's time for desert!

We did post simultaneously, Griffin, but don't worry, I regularly look back and did indeed catch the trumpet concerto (and the other place for dinner).

Sandy, what's with boats in Maine? I saw one crabbing at 1:48 and thought it was odd. Then at 3:58 there's another doing the very same thing! Great Sunday morning mood, though!

Phil Manzanera and Andy Mackay were at my sisters wedding, Eglantine. Alas, on the groom's side. I didn't really get to meet them.

Such a range of styles and moods; it's quite exhausting.

Here's another emotional offering to mark the start of Passion Week, made more poignant by the accompanying scenes. Humanity thrives on the twin towers of experiencing and of sharing such emotion.It cleanses and purifies the soul and is itself uplifting.

I dare say, this too will soon be followed by something light and lively. Isn't this a great thread? The whole gamut of emotions, times of day and seasons of the year in one place!

Half of Roxy Music were at your sister's wedding? Oh, but, missing the all-important important Mr Eno!

Just now, I'm mainly listening to Mr Nyman's - ahem - 'reinterpretations' of Purcell and Croft. Nyman basically lifted a whole lot of 'grounds' from Purcell (and Croft too, after a re-attribution) to make his soundtracks for the movies.... The Draughtsman's Contact, A Zed and...

I say, fair play, he took it all and made it his own, after a fashion. And that's what 'grounds' were about.

I loved those movies (back in the 70s/80s): the sound was given the weight it deserved. Visually stunning, but audio fantastic too.

Sandy, what's with boats in Maine? I saw one crabbing at 1:48 and thought it was odd. Then at 3:58 there's another doing the very same thing! Great Sunday morning mood, though!

I think they were just pleasure boats hoping to cash in on a free concert! Looks like they didn't stay long, I'd guess the acoustics weren't great!

The Adagio was beautiful. When I lived in Portland (Maine) I used to go to the Easter sunrise concert that takes place on a bluff with a stunning view of the bay. Usually put on by members of the Portland String Quartet, I think.

Now that I've had a chance to eat, here is another Sunday offering. The Fugue in G minor BWV 578 by J.S. Bach. The organist is Ton Koopman.

Ton Koopman is a fantastic organist, harpischordist, conductor and all round top bloke ! He has also worked tirelessly to revive the reptuation of Dietrich Buxtehude, who Bach himself regarded as the master. He has been working on a project to record the complete works of Buxtehude, which will no doubt be the definitive edition. This may already be complete.

Gosh, yes, Eglantine, what a noise in the world Eno made with Bowie and Hunter!(Did you change the link for the Draughtsman's Contract?)

Thank you, Griffin. I'd only heard TK on the harpsichord until now.

Cheechako, I did calligraphy with Frank Zappa's sister-in-law, Joyce Teta.I was directed to You Tube to catch your Cocker & Belushi video, great fun! In the sidebar I caught this clip from Joe Bonnamassa.

"Woke up dreaming I was gonna die", my goodness, the man exudes Blues. With ambassadors like this the Blues will never die!

... can anyone in this erudite circle identify a band that has covered this Eno gem, and identify three reasons anyone should care?

142 pages later, and I'm still breathlessly waiting for any takers...anyone? Bueller?

Fine. It's Head of Femur. (regarding the band; there are no reasons anyone should care)

Oh, right...the cover:

_________________________
Only in men's imagination does every truth find an effective and undeniable existence. Imagination, not invention, is the supreme master of art as of life. -Józef Teodor Konrad Korzeniowski

_________________________
Only in men's imagination does every truth find an effective and undeniable existence. Imagination, not invention, is the supreme master of art as of life. -Józef Teodor Konrad Korzeniowski

If you're working in C you have C-Dm-Em-F-G-Am-Bdim or I-ii-iii-IV-V-vi-vii. We tend not to use vii much in western harmony because of the dissonance. We prefer to add a major third underneath giving us the dominant seventh). Once you're familiar with the six or seven numbers it's easier to relate each number to the FUNCTION of the chord within the key you're in without having to consider the key itself.

If you stayed with chord names instead you'd have to learn twelve majors, twelve minors and how they relate to each other in the particular keys in which they might simultaneously occur. Now THAT to me is daunting.

If you're talking about Em in the key of C, it's iii but in the key of G it's vi. If the function of the chord is more important than the name it's better to use the number.

In discussing I Want to Hold Your Hand, the main progression finishes on iii (it's actually B7 rather than B minor [III instead of iii] but that's a colouration outside diatonic harmony and won't make understanding what's happening any easier). You don't normally finish a progression on iii (or III for that matter). It would normally end on the tonic itself (I) or on the dominant (V) which leads to tonic.

Lennon and McCartney finish with it hanging in the air without an obvious path home. This is a challenge that requires skill, craft and imagination to bring it to a satisfactory close. When you hear the harmony in their voices reach a peak at the end of the second line - 'Oh, yeah, I'll tell you something, I think you'll undertsand, When I'll say that something I want to hold you HAND' - it's not obvious how they're going to come back to tonic. It's incredibly exciting.

By saying they're on B minor or B seventh doesn't really convey the functionality of the chord choice (unless, as I say, you're aware of the functionality of all the chords in all the keys) so saying it's iii makes more sense.

Roman numerals, or RN's, weren't designed to make music harder. They were designed to make it easier despite a minor outlay invested in learning them.

Thanks for reading, CaptainKawai. It's nice to get some feedback. I don't know whether my ravings are OTT and just ignored or if they're enhancing the listening experience. For myself, I genuinely weep _every time_ I hear Beethoven's Seventh or the entry of the fourth theme in Liszt's B minor sonata, for example. Knowing what's happening helps me enjoy the experience more.

If you're working in C you have C-Dm-Em-F-G-Am-Bdim or I-ii-iii-IV-V-vi-vii. We tend not to use vii much in western harmony because of the dissonance. We prefer to add a major third underneath giving us the dominant seventh). Once you're familiar with the six or seven numbers it's easier to relate each number to the FUNCTION of the chord within the key you're in without having to consider the key itself.

If you stayed with chord names instead you'd have to learn twelve majors, twelve minors and how they relate to each other in the particular keys in which they might simultaneously occur. Now THAT to me is daunting.

If you're talking about Em in the key of C, it's iii but in the key of G it's vi. If the function of the chord is more important than the name it's better to use the number.

In discussing I Want to Hold Your Hand, the main progression finishes on iii (it's actually B7 rather than B minor [III instead of iii] but that's a colouration outside diatonic harmony and won't make understanding what's happening any easier). You don't normally finish a progression on iii (or III for that matter). It would normally end on the tonic itself (I) or on the dominant (V) which leads to tonic.

Lennon and McCartney finish with it hanging in the air without an obvious path home. This is a challenge that requires skill, craft and imagination to bring it to a satisfactory close. When you hear the harmony in their voices reach a peak at the end of the second line - 'Oh, yeah, I'll tell you something, I think you'll undertsand, When I'll say that something I want to hold you HAND' - it's not obvious how they're going to come back to tonic. It's incredibly exciting.

By saying they're on B minor or B seventh doesn't really convey the functionality of the chord choice (unless, as I say, you're aware of the functionality of all the chords in all the keys) so saying it's iii makes more sense.

Roman numerals, or RN's, weren't designed to make music harder. They were designed to make it easier despite a minor outlay invested in learning them.

Thanks for reading, CaptainKawai. It's nice to get some feedback. I don't know whether my ravings are OTT and just ignored or if they're enhancing the listening experience. For myself, I genuinely weep _every time_ I hear Beethoven's Seventh or the entry of the fourth theme in Liszt's B minor sonata, for example. Knowing what's happening helps me enjoy the experience more.

Thanks for the music theory lesson, Richard!Your "ravings" are always appreciated, although, some of us....require a dictionary at hand to fully make it through your posts! What was that word you used in another thread? " lugubrious " Am I the only one who does not regularly use this word while conversing? Perhaps....

Good morning Richard! I just finished reading your post and found it very informative. It was also a reminder for me of my need to bring out my music theory book I purchased last year.

I just wanted to let you know that I definitely read your posts in which you do some analysis, and say what excites you about the music you are experiencing. I find that very useful. I truly appreciate it when you and others do that because I often gain some new insights about music.

It's unlikely that I would do it myself, however. Why? I guess it's just not one of the things that I enjoy writing about. I think it has more to do with where I'm at with music at this stage of my life. I suspect that after I retire in a few years I might feel different about this.

Anyways, I guess this was just a long winded way of saying I certainly enjoy reading your posts.